France and England were, consequently, scarcely affected by the Renaissance school until the great change of society, resulting from the invention of printing, rendered the introduction of classic taste, with other new ideas, more easily spread abroad by the diffusion of knowledge; whilst learning, and the study and examination of arts and monuments bequeathed by the ancient world became a passion which sooner or later transformed the longestablished models of the medieval ages, and replaced them too generally by the pseudo-Greek or classic style.

In this Paper, which is necessarily condensed, and has not the advantage of all the engravings which were shown in illustration of the subjects described, I propose to draw attention to a few examples only of the lessknown specimens which in infinite variety await examination, and which are fairly representative of the period under consideration: a time when the change from one system to the other was yet but in its earliest phase; when the beauty and perfection of architecture, equally in city, dwellings and churches, has left its priceless records to prove to later generations the genius of the great workmen of mediæval ages.

To commence with a town and a city of importance, we will take Bourges, one of the most notable for its streets, town hall, and cathedral. Situated in central France, this place does not receive as much attention. from students of art and architecture as many a less remarkable place. In these days of railroads it is not so often visited, indeed, as in times when travellers would leisurely take the road and follow fancy, going aside from the direct route to rest and visit a more interesting or anciently noted locality, instead of hastening from point to point or following the ordinary tourists' track.

Here, however, is a cathedral worthy the present-day archæologist; a town replete with materials for historymaking, with streets characteristic of centuries gone by, and a Hôtel de Ville, the very embodiment of the great merchants' dwelling of the fifteenth century, which indeed it was originally built for. A few words must suffice for the cathedral, the situation of which on the

highest eminence of the town would first attract attention. It may be noted in reference to our subject that, of the two fine towers which are conspicuous for miles around, one is known to have been built by GrüllPellevoisin about the middle of the sixteenth century. Unfortunately, the name of the architect of this cathedral is not known, nor that of the sculptor who adorned the west façade with most beautifully executed bas-reliefs, the figures and grouping and designs all betokening the influence of a master mind and the best workmanship of the period (late Gothic). Some idea of the size and magnificence of this cathedral may be formed from the dimensions of the interior, which is in form a parallelogram, without transepts but with double aisles, each of those next the centre being 65 ft. high, and furnished like the centre aisle with triforium and clerestory, extending all round the choir, while beyond the outer aisles are eighteen chapels. The vaulted roof, 175 ft. high at the centre, is supported by sixty piers, with capitals in the English style, and the perspective is varied and grand indeed. I might go on to note the very beautiful ancient glass, specimens which represent the art from the thirteenth to the seventeenth century, but their consideration would not be so relevant to my subject. I must, however, mention one of the chapels, which is supposed to have been built by the celebrated Jacques Cœur, and his son, Archbishop of Bourges about 1446; also the crypt, with its early Pointed architecture, forming a semicircle below the choir, and containing the monument of Jean le Magnifique, Duc de Berri, nephew of Charles V of France.

After the cathedral there is for especial attention the Hotel de Ville, originally the town mansion of Jacques Cœur, the jeweller and citizen capitalist and benefactor of the town, and Finance Minister to Charles VII, who after borrowing two hundred thousand crowns from his generous subject, afterwards confiscated his property and banished him for life, on what grounds remains a mystery. This building, of which I am able to give a rough sketch, was begun in 1443, and is a magnificent example of the late Gothic style, and though

florid is not overladen with ornament. The exterior is wanting in uniformity, but though various, all seems to harmonise. Over the entrance is a small turret and a projecting balcony, resembling an open oriel above, ornamented with graceful tracery, and sculptured figures on either side. The windows are surmounted by flat arches, ornamented with open tablets of quatrefoils, and the device of Jacques Coeur interspersed between them, representing a heart and scallop-shell of the pilgrim. Circular cone-roofed towers rise above the edifice, which, within, are provided with spiral staircases. The balustrade between the outer gateway and turret has the motto of Jacques Cœur, "A vaillants Coeur rien impossible", most conspicuously carved in tall Gothic characters on stone. The doorways in the court are surmounted by quaint bas-reliefs, and over the gateway is a chapel, the upper floor of which has the original roof, on which the frescoes were a few years ago in excellent preservation. They are probably paintings by Italian artists, marking the period when the aid of foreign workmanship was called in to adorn the buildings of an earlier age with the first examples of Renaissance art. It is said that the great Condé, in his early youth, occupied this beautiful building when studying at the Jesuit College at Bourges. The details of decorative art which prevail and ornament every pinnacle, eave, and window-ledge, are most suggestive of the period of this mansion; and while highly ornate, do not in any way interfere with the effect of the building as a whole.

From this beautiful example of a town merchant's dwelling I will turn to give a short description of the church of Blemod les Toul in the department of Meurthe. Here there is a rich specimen of fifteenthcentury work. The façade of the church is a fine example of its kind. The choir and transepts are of earlier date. Here the clustered pillars are varied types, and of mixed styles, the capitals decorated, and the roof springing from the upper tier to a great height. This church contains the fine tomb of Hugues des Hazards, Bishop of Toul, a work of art of the sixteenth century, which plainly shows the influence of the Italian school: the pillars at the